Customer Service | Help | FAQ | Report a Data Error | About
Tip: To see author affiliation information in an article…

PEP-Web Tip of the Day

To see author affiliation and contact information (as available) in an article, simply click on the Information icon  next to the author’s name in every journal article.

For the complete list of tips, see PEP-Web Tips on the PEP-Web support page.

Stekel, W. (1923). Poetry and Neurosis: Contributions to the Psychology of the Artist and of Artistic Creative Ability. Psychoanal. Rev., 10:190-208.

Welcome to PEP Web!

Viewing the full text of this document requires a subscription to PEP Web.

If you are coming in from a university from a registered IP address or secure referral page you should not need to log in. Contact your university librarian in the event of problems.

If you have a personal subscription on your own account or through a Society or Institute please put your username and password in the box below. Any difficulties should be reported to your group administrator.


Can't remember your username and/or password? If you have forgotten your username and/or password please click here and log in to the PaDS database. Once there you need to fill in your email address (this must be the email address that PEP has on record for you) and click "Send." Your username and password will be sent to this email address within a few minutes. If this does not work for you please contact your group organizer.

OpenAthens or federation user? Login here.

Not already a subscriber? Order a subscription today.

(1923). Psychoanalytic Review, 10(2):190-208


Poetry and Neurosis: Contributions to the Psychology of the Artist and of Artistic Creative Ability

Dr. William Stekel

Authorized English Version by James S. Van Teslaar

(Continued from page 96)

His feelings of ennui developed into taedium vitae and he entertained thoughts of suicide, as shown by his Werther. His feelings at all times passed easily beyond the realm of the normal. He wept easily and on all occasions. He wept when he recited Hermann und Dorothea. (“One thus melts before one's own coals.”) He wept at the fifth act of Iphigenia; for 14 days before his departure from Rome he wept daily like a child. He disliked all sad accounts and anxiously avoided all unpleasant impressions. The female trend in him, the homosexual component, which is never absent in the neurotic, made him supersensitive.

His mood was subject to marked periodic vacillations. Mobius holds that “the relationship between unmotivated vacillations in moods and periodic insanity no thoughtful person can deny.” I am bold enough to deny that absolutely. If one investigates these emotional vacillations in the light of psychoanalysis one finds that they are never unmotivated. They only seem unmotivated on superficial

(Note reference page 96, January number):


1 “… Our great creative writers have possessed in the highest degree that sensitiveness, or excitability as it has been more recently called. Grillparzer showed the most peculiar sensitiveness to light; a plain sound was sometimes enough to excite his whole body into a tremble, and Hebbel confesses: ‘I am often mad with myself to discover that my excitability instead of subsiding, grows progressively worse.’ In spite of such complaint experience proves that those who are particularly sensitive do not avoid the stimuli, that they experience a mixed pleasant-unpleasant sensation on account of which they rather aim to expose themselves to the excitations in question, that the artist deliberately exposes himself to the stream of life, to the tasting of existence and to the gamut of passion.” Behaghel, Bewusstes und Unbewusstes im dichterischen Schaffen. Leipzig, 1907.

- 190 -

[This is a summary or excerpt from the full text of the book or article. The full text of the document is available to subscribers.]

Copyright © 2017, Psychoanalytic Electronic Publishing, ISSN 2472-6982 Customer Service | Help | FAQ | Download PEP Bibliography | Report a Data Error | About

WARNING! This text is printed for personal use. It is copyright to the journal in which it originally appeared. It is illegal to redistribute it in any form.